Category: Comedy

A real disaster. That’s what His Kind of Woman could have easily been because with Howard Hughes meddling in any production it was very likely that something would get dragged out, lopped off, or in some way switched around.

In this case, the whole film was shot by John Farrow only for Hughes to bring in Richard Fleischer (The Narrow Margin) to reshoot some material as well as calling on the services of Earl Fenton for some script doctoring. Not only that, but the picture sat on shelves unreleased for at least a year. Despite Hughes’ best efforts even unintentionally, His Kind of Woman somehow still succeeds for the very fact that it is so different from many of its contemporaries.

There are moments in hindsight where you see where one thread was tied to another or one scene was inserted to make the story comprehensible. However, in its essence, this picture is not so much a product of its plot but of its characters and the tone it deems germane in any given situation.

The chemistry is sizzling hot down to the last clothes iron between Robert Mitchum and Jane Russell. It’s also a contest of the sidelong glances as they both case each other’s faces with their pair of iconic eyes. One pair indifferently cool as Mitchum always was and Russell as her playfully seductive self. But this venture is as much of a farce as it a true blue film noir. More on that momentarily.

It opens in Italy where a gangster (Raymond Burr) is on the lamb still trying to figure out how to get back into the U.S. to protect his interests. Our narrator (Charles McGraw) relates the action from Italy to Mexico and then Los Angeles where we finally get a line of one of our stars. Dan Milner (Robert Mitchum) is a detached gambler with few things tying him down when he receives a house call.

The premise, on the whole, is an odd one. Mitchum goes to Morro Lodge on assignment. His orders are to wait and he gets $15,000 in advance for doing so and $50,000 total. We don’t know why he’s there but it gives us time to feel out the people who inhabit this curious getaway on a hidden inlet below the Mexican border. And it’s quite the crew aside from those already mentioned. It’s the same story for about an hour and the good news is it’s actually quite a diverting place to be.

We find out that Mitchum does have a noble side pulling a parlor trick in a game of poker that feels rather like Rick’s roulette wheel in Casablanca (1942). Then, a swacked pilot drops down at the nearby airfield. At first, it’s easy to surmise he’s a Howard Hughes caricature until you realize he’s actually a Federal Agent. Otherwise, we don’t know what we’re waiting for or even really why we’re waiting at all but in the meantime, we have some quality entertainment — a real first-rate floorshow from the stock company.

Jim Bachus is a wise-cracking real estate man who constantly searches out his latest gin rummy partner while trying to relive his old glory days out on the football field to impress the wife of another vacationer. His flabby physique and general manner do not do much to win her over. Still, he’s not a bad sort of fellow though he thinks the love life of a real estate man might make a good motion picture.

Anyways, the true attraction and the figure who causes us to stick around and truly relish the back end of His Kind of Woman is Vincent Price. He provides one of his most brilliantly wacky performances to offset any moments in the film that might give the pretense of being serious.

Mark Cardigan is batty about hunting and so enraptured with his own performances on the screen. One night he’s cooking up his duck for a nice dinner for three only to get his party disrupted by his publicity agent who also brought his estranged wife. Finally, he goes into battle spouting off Hamlet just as the film starts getting tense and someone must be spurred to action.

He’s a gung-ho hero both on the screen and off gathering the most delightfully mismatched band for his counterattack on the enemy fleet parked nearby. But to say they’re sunk before they’ve started proves too true.

What follows is a perfect collision of tones as has probably never before been captured in film noir. Though I must admit it’s a bit of a shame that Jane Russell is conceivably trapped in a closet for much of the film’s prolonged finale. She did so much to bolster the opening moments but alas Robert Mitchum is at it alone fleeing his adversary aboard a clandestine barge.

In fact, everything takes a turn toward a brutal course that feels much more like prototypical noir. However, this cannot outlast the vein of light humor and sensual chemistry that comes with the onslaught of Vincent Price and his seafaring battalion followed by a romantic reunion. Russell gets out of the closet just long enough for another sweltering exchange with Mitchum that reminds us just why she was missed.

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Love Crazy puts William Powell and Myrna Loy in their wheelhouse as the lithe and sprightly romantic partners placed at the center of this screwball comedy. Steve Ireland (Powell) is in a terribly good mood getting home in his taxi singing ditties as he makes his way up to surprise his wife Susan on their wedding anniversary.

All of which is an encouraging change of pace because Hollywood often made the nagging of marriage look like a real ball and chain. For once that’s not the case. They want a romantic second honeymoon full of dancing, escapades, and a dinner served backward. It’s the fact that he can never get enough time with his wife to suit either of them. Well, there you have the film in a nutshell anyway.

Except storytelling 101 tips us off that the film will have to begin swinging like a pendulum in such a way that both our lovebirds in this connubial comedy will no longer be so inseparable. The main instigators prove to be his overbearing mother-in-law who inserts herself into all their plans. The other is a former flame, Gail Patrick at the most delightful I’ve never known her to be, who playfully cajoles him to have some fun. She’s married but acts as if she’s still single and ready to mingle.

You would think he already had more excitement than he could take getting trapped in the elevator shaft with this frisky female and the elevator boy (Elisha Cook Jr.). Proving I’m no comic snob, I heartily enjoyed watching Powell’s head get clunked around. It’s a resoundingly hilarious image.

However, he forgot about who was waiting for him back home. It’s the lesser of two evils to sneak out for a drink with Isobel and while his wife has to step out he uses his worst possible lifeline to get away from his aggravating mother-in-law. It doesn’t take too much for the root of doubt to sneak up and it only gets worse when Ward Willoughby (Jack Carson) is introduced as a studly archer in an undershirt. What else? Now both spouses have someone to be jealous of.

It hearkens back to the days where the sitcom hadn’t been invented yet because we didn’t have TV so instead, there were films like this which function around all the most cringe-worthy bits of comedic irony, namely mistaken identity and all sorts of misunderstandings. But like its predecessor from the year prior, I Love You Again, the steam slowly begins to evaporate off about midway through.

Because the main subplot becomes the whole plot in a way that provides some gags but on the whole feels tired and worn out. I want to see Powell and Loy together or at least more of Patrick and Carson who actually bring a lot of comedic chops to the picture. In fact, one of the more hilarious wrinkles involves Powell getting the other man interned at the sanitarium only to have him escape later. But it means very little to the integrity of the story. That’s part of what makes it so enjoyable.

Otherwise, Powell plays up his insanity to string along his wife so she can’t divorce him. His main showcase is at a party where he emancipates a fleet of hats trying to play up his looney side, followed thereafter by a string of other coincidental mishaps. His wife knows it’s a game but the man he’s christened “General Electric Whiskers,” who he met at the party, is actually a doctor who thinks he’s very sick indeed.

This all feels like fairly uninteresting fluff. Meanwhile, the film’s finale relies on another bout of concealed identity but to its credit, it circles back on the things that made it laudable before, entering back into the apartment complex. There the chaos of all those individuals from earlier is heightened in close proximity with a supposed crazy man on the loose and the police after him. They are aided by Willoughby and Steve is helped first by Isobel and then his wife.

But the crowning piece of comedy has to do with Powell’s ultimate masquerade as he even sacrifices his beloved pencil-thin mustache for the sake of it all. While not particularly inspired by today’s standards, Love Crazy boasts Powell and Loy in as fine a form as ever. That is enough to enjoy the picture even in its middling moments.

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The film’s plotline can be summed up by amnesia. A no-fun businessman named Larry Wilson who drinks nothing harder than grape juice is conked on the head while saving a drunk who went overboard. Poof! Just like that Larry is no longer and he becomes his presumed former self — the suave alter ego — George Carey. If you’re willing to buy into the premise and not ask too many clarifying questions, it’s quite easy to enjoy the inevitable wacky ride ahead of us.

I even got the inkling that it was going to be a funnier version of Random Harvest (1942). Really it’s part of that esteemed screwball subset — the comedy of remarriage. Carey heads back home with his newfound pal and fellow grifter Doc (Frank McHugh) to scope out his past life and do his best to be the man he is supposed to be with humorous complications. You see they don’t realize he’s a married man until his wife comes to meet them at the gangplank. Well, actually he’s a soon to be a divorced man. Hence the marital conflict perfectly positioned for ensuing comedic fodder.

The main wrinkle and ultimately what makes it so different is that Powell and Loy are at separate poles in this film by necessity. All throughout The Thin Man pictures, they’re in perfect cadence and that’s what makes their chemistry and the onscreen marriage work.

Here Powell is a charming man with a twinkle in his eye like always — but his wife is expecting the same boring schmuck she married all those years before. She’s coming at this man from a different point of view and boy is she surprised with what she gets. In one way, annoyed because he makes it infinitely more difficult for her to let him go but then thankful because he is the precise man she always dreamed was right in front of her.

In this way, I Love You Again is actually a fairly personable romance beyond its simple roots in screwball comedy. There’s almost a bit of depth there if we dare admit it but of course, that doesn’t take away from the underlining laughs most especially offered up by Powell.

He’s not opposed to making a fool of himself by dancing all by his lonesome until his wife saves his self-respect. And he plants a kiss on her that all but broke the world record in the sleepy town of Haversville. But she’s not going to go down without a fight and in one particular squabble he gets scrambled eggs all over his face (and on top of his head). Her current beau is an idiotically annoying bloke in his own right who is made for antagonizing. They always are.

If William Powell fly fishing in Libeled Lady (1936) was one of the defining comic images of his career than perhaps its equal is found in the confines of this film where he dons a boy scout uniform from his past life. Because he’s a woodsman of some repute who has quite the following with newspaper articles being penned about him and little tykes (AKA Alfalfa) being discouraged by how difficult he is to track. I feel that I saw some of these images years later in another intrepid yet bumbling outdoorsman, Barney Fife.

The moments exuding entertainment appeal outpace the rest including Powell’s constant cooing impression of a lovebird but nevertheless, it does drag in segments after a fairly interesting setup. Extended boy scouting sequences and spying out the old stomping grounds aren’t all bad though.

One could say that it’s even necessary as we watch the malleable relationship between Powell and Loy morph into something new. Everything else serves this singular purpose. It’s really what you wait for in a comedy of remarriage as the wistful regrets and longings seep in only to get replaced by happy expectancy of what is yet to come. The future is made sweet and those truths remain in I Love You Again.

The nucleus of Capra regulars are all present and accounted for including a script adaptation by Jo Swerling and dialogue by Robert Riskin. The cast, on the other hand, is an interesting array of talents that simultaneously proves a major asset.

Foremost among them and most notable in this picture right off is Jean Harlow. It’s certainly true Platinum Blonde was one of those that helped build the mythology around her that still seems to linger following her death in 1936. Thanks in part to its title alone. And yet it’s a role that feels contrary to the Harlow archetype. Further still, it’s nearly a misnomer because this is somebody else’s picture entirely and it’s very likely you’ve never heard his name uttered before.

Anyways, his name is Robert Williams and he plays our main protagonist Stew Smith, a newspaperman who works the beat with not only shrewdness but an understated affability and integrity.

Idle moments at his typewriter are spent penning a play set in Siberia and then Araby and finally Old Madrid. He’s planning to figure out the plot later. Either that or he’s killing time playing his handheld puzzle with his co-conspirator Gallagher (Loretta Young) instead of doing work like any gainful employee. He’s the thorn in the side of his editor Conroy but the man can’t fire him. He’s too good at his job.

In this respect, it’s a picture that shares the same world and figures immortalized in comedies such as The Front Page (1931), Libeled Lady (1936), and His Girl Friday (1940). In fact, it seems like the newspaperman had a certain appeal during the 30s and 40s at least in cinematic terms.

Smith’s the man who digs up a story on the well-off Schulyer clan who are currently embroiled in a breach of promise suit that involves the family playboy Michael and a chorus gal. Though a reporter from The Tribune is easily bought, Stew’s not and comes out with a major scoop. He’s got his editor’s thanks and the family’s ire. Still, they are more surprised that he’s an actual honest-to-goodness newshound and not an opportunist.

Soon enough Ann Schuyler (Harlow) has fallen for him. So this is also a class picture and there’s the expected chafing when a man of working stock falls in love with a woman with means. They can go batty for each other but that doesn’t make acclimating to a new life any easier. And someone has to give. In this particular instance, it’s Smith and he goes absolutely stir crazy.

He and Harlow are beyond cute together having a playful marital tiff over garters. For him, he would lose all respectability in the newsroom and his own individuality if he went back to donning this archaic emblem of the old elite. For her, it would help make him into a gentleman.

But far from just glowing with Harlow, Williams can’t seem to put a step wrong. Whether it came purely out of the script or not, he translates the actions with a sincerity that feels utterly disarming. When he has the mansion all to himself, he starts hopping about and testing out the acoustics with his vocal chords. Then there’s an extended sequence with a discourse between Smith and his valet Smythe about the art of “puttering.” Don’t try and figure it out.

And he keeps the lamp burning with Gallagher too. Loretta Young at 18 years old and radiant as ever is not exactly a “one of the boys” prototype and she can’t pull it off like a Rosalind Russell or Barbara Stanwyck might. But that doesn’t downplay her usual effervescent and winsome charm, bouncing off Williams nicely. There’s no doubt about it; they’re pals. You know a girl’s one in a million when she’ll help you get out of a jam with your play. She advises him to write about something he actually knows about like his own life story with Ann.

Of course, the aforementioned play proves imperative to the final act of the film because we see the very events occurring in real time being used as perfect fodder for the fiction. The man finally stands up to his wife. He finally moves out and plans to get a divorce without “alimony” attached. He’s too proud for such an arrangement. Always has been.

But most importantly the play’s ending gets written right in front of us too. He goes back to the girl he’s always loved without ever realizing it. He tells her what a fool he’s been. End scene. Call me a sentimental sop but I couldn’t have envisioned a better ending for the picture if I’d written it myself.

The great tragedy of this particular film is not that Harlow was gone in 5 years time but that Williams would pass away only 3 days after the picture was released. And that’s why the film history books don’t have as large a page on this man as they very well might have. There’s no question he’s a charming dope with a touch of understated comedy and certain charisma.

It’s a testament that in a movie boasting Frank Capra, Jean Harlow, and Loretta Young, Robert Williams is the undisputed standout, holding together all its various relationships with aplomb. He elevates the picture. It’s a shame that we lost him on the precipice of what could have been such a rewarding film career. I admit it’s a bit selfish. I would have loved to see him in more

Up until this point in time, The Marx Brother’s all-out assault on humanity had still mostly been geared at the likes of stuffy socialites, gangsters, college campuses, authority figures, etc. Albeit entertaining but fairly straightforward worlds where there was not that much to be navigated beyond what we already knew to be true. All that was necessary was to sit back and enjoy the boys at work and cue the rolling in the aisles.

Their audiences by now had been conditioned with a certain type of environment. The framework is still somehow familiar in Duck Soup as well — at least on first glance. There we have Margaret Dumont at the center of it all surrounded by a bunch of stuffy bespectacled chaps with beards. She is calling for the resignation of one of the leaders of the nation of Freedonia.

Her choice to fill the position is none other than that progressive visionary Rufus T. Firefly (Groucho). Why she thinks he is anywhere close to being qualified is slightly beside the point. We just want a chance to see Groucho and he receives the usual majestic fanfare rushing down the fireman’s pull to see what all the hubbub is about.

Meanwhile, Louis Calhern of the adjoining nation of Sylvania is simultaneously conspiring with a cunning mistress to ignite a revolution and take over the country from within while also attempting to woo the prominent Mrs. Teasdale.

Two spies are tracking Firefly right as they speak. In fact, they’re a lot closer than they might think. They’re his brothers. Scratch that. They’re Pinky and Chicolini sent to scrape together some dirt to discredit him with the people. Little does their ringleader know that Groucho, errr, Firefly has been doing a good enough job being disreputable all by himself.

Only when Margaret Dumont has returned back in the fold do you realize how much she improves Groucho’s jokes. Years later the man said himself that the key to the magic was the fact that she never understood any of his barbs — much less why they were funny. However, in this particular outing, Louis Calhern and the demonstrative lemonade vendor Edgar Kennedy do much the same for the other two conniving troublemakers, Chico and Harpo. They’ve never truly had such a good foil as Groucho had in Dumont.

The picture segues into a scene where Groucho sticks his head out the window overlooking a peanut vendor and pretty soon Chico is being offered a spot in Groucho’s cabinet. Sounds about right. Likewise, Harpo gets in on the action and the most surprising discovery is that his body is covered with art in the film’s next truly surreal interlude.

Now with such crucial positions so close to Groucho, who coincidentally would have probably offered positions to a chimpanzee if given the chance, the two infiltrators are called upon to steal Freedonia’s war plans. Again, who cares?

Crucially, their little escapade sets up The Marx Brothers’ next iconic gag with three Groucho’s dressed in nightcaps and pajamas. The mirror scene is the most remembered bit and it’s fun but it’s only a segment of a whole drawn-out sequence that plays on the brothers’ mistaken identities. This in itself could be another commentary if you wanted to make it into one.

Personally, it struck me for the first time that though physically the sequence revolves around Groucho, much of it takes place in Harpo’s world without any dialogue. Furthermore, there are times when we don’t actually know who is Groucho or who is not until we are given cues whether Chico’s trademark accent or Harpo’s hat.

First, the mirror is shattered and then reality when one Groucho steps out and is replaced by another only to be joined by a third. Regardless of what you want to say about this realm of the absurd, it’s a great gag.

Then there’s the final sequence which is the actual escalation of the war between the two belligerent countries but it’s done with the typical tongue-and-cheek manner you might expect from the brothers where war is equated to a minstrel show and Groucho breaks out into a slightly doctored spiritual, “All God’s Children Got Guns.” From thence forward let the surrealist nonsensical nature of war take over.

For me, Groucho sums it up in sending Chicolini off to battle, “While you’re out there risking life and limb through shot and shell, we’ll be in here thinking what a sucker you are.” This was no grand anti-war statement. If anything it was a cynical statement. Of course, that doesn’t take into account Groucho’s constantly changing military garb from Revolutionary War attire, Civil War uniforms, a coonskin cap, etc. It was comedy pure and simple.

In my mind, it’s no small coincidence that one of the Brothers most reputed films was also directed by Leo McCarey who in some respects still remains criminally underrated. Certainly, he was more a Cary Grant director than a Marx Brothers one but there’s a sense that he could focus their comedy into something utterly electric.

The irony of it all is that The Marx Brothers really hadn’t changed all that much but the way people perceived them and by extension, how they perceived their comedy, had provided this new context that surrounds Duck Soup. So people could start placing all types of assumptions and beliefs onto the film in ways that were most alarming and subversive.

I think the brothers themselves may have even admitted that they unwittingly rather than consciously made this departure. But the implications were great and cultivated the soil for a film that’s legacy would only grow year after year. And it’s true that there really is no superfluous scene. There’s no real chaff as it were even if it is all utterly marvelous absurdity.

However, it made just enough sense for Mussolini to ban the film on grounds of pointed satire. One last time let’s turn to Groucho who would have been overjoyed by such a response but pointed out, “We were four Jews just trying to get a laugh.” That was all. But it was so much. Duck Soup is a pinnacle of comic nonsense.

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At Paramount Pictures The Marx Brothers released a row of comedies with seemingly arbitrary names evoking fauna like Animal Crackers, Monkey Business, Horse Feathers, and of course Duck Soup. The phrase “Horse Feathers” is essentially a variation on “Nonsense” though it sounds rather archaic by today’s standards. That hardly detracts from any of its charms as a film.

There must be a location — a place for the brothers to be unleashed upon the world where they can belittle and bash heads all at the same time. What better place than a university campus that pantheon of learning dating all the way back to the Greeks? It commences with a perfect opening ceremony that’s quintessential Groucho.

He accepts his new post by badmouthing his eminent predecessor, pulling on the facial hair of all his eminent faculty, besmirching the reputation of his eminent institution and singing a typically cheeky diddy, “I’m Against It.”

His son played by none other than his younger brother Zeppo has been spending his idle hours outside of the classroom and off the football field in the company of a College Widow (Thelma Todd). Much like “Horse Feathers,” this might come as another antiquated term or at the very least euphemistic. It usually denotes a woman who lived near college campuses to romance male students. She was commonly known to be easy pickings. But that’s enough context. Watch the film and you’ll probably have all the context you need because Groucho wants to get in on the action too — not to mention the other brothers.

However, there’s more important business at hand. Namely the fact that Huxley hasn’t had a good football team since 1888. Even in 1932 that was still a very long time ago. As Groucho notes they’re neglecting football for education. At the behest of his son, he personally heads down to the Speakeasy to dig up some talent. It isn’t the least bit ethical so obviously, the school’s new head promptly heads straight there.

Before he can enter, however, he needs to provide the password and you guessed it the gatekeeper is the bootlegger Baravelli (Chico). Getting inside is more convoluted than you ever imagined. Of course, the actual joint is then Harpo’s personal playground and overflowing slot machine. His hat runneth over so to speak. The steady stream of gags keeps on flowing.

I was genuinely cracking up whilst Harpo stokes the fire with books in Wagstaff’s office Groucho remarks that Baravelli has the brain of a four-year-old boy, and “I bet he was glad to get rid of it.” Classic Marx Brothers.

Follow that up with an invasion of a lecture hall with Chico and Harpo taking up seats in the front row after their typical fisticuffs while Groucho stands by making snide remarks over the professor’s shoulder. Another perfect scenario capped off by Groucho taking over and getting caught in a spitball war with his two most unruly students.

Next, it becomes grand central station in the promiscuous college widow’s pad with slabs of ice getting repeatedly chucked out the window and Groucho repeatedly breaking up the action and the fourth wall by talking to the audience. He even invites them to go out to the lobby during Chico’s piano playing. To be honest, I was never that big of a fan. Each of the brothers pays the dame a visit as does her other beau backing Darwin while Groucho constantly makes a chore of carrying out his umbrella and rubbers before exiting the busy room.

We have the resulting romantic date on the lake with the dame conspiring to steal Huxley’s signals. Groucho’s serenade of “I Love You” is the kicker. In fact, it’s very true that everyone says I love you — including each of the brothers — each in a very different way. Meanwhile, Todd assaults Groucho with baby talk and he all but tosses her out of their dingy (in case you didn’t realize, they had Life Savers candy back in 1932).

But the finale comes on the football field and there’s no doubt that Chico and Harpo liven things up. The most storied gags are courtesy of Harpo including a football yo-yo and laying down a minefield of banana peels, and of course chariots. They have no respect for the game. What better way to sum it up than marriage Marx Brothers style. They have no respect for that institution either.

Whether or not its second tier to the likes of Duck Soup (1933) or Night at the Opera (1935) is beside the point aside from being purely dismissive. Watching the boys at work here is arguably as wild and deliriously funny as anything they ever put to film. Here is a comedy that wonderfully condenses all that these brothers stood for as far as comic hooliganism was concerned in a gag reel that never has time to run out of steam. A wonderful summation of what college might be like if the Brothers had ever had the good fortune of making it there. Regardless, it’s a joy to the very last hike and the very last frame of chaos.

4/5 Stars

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Ernst Lubitsch made a name for himself and his “touch” in silents as well as leaving an indelible mark on the 1940s with the likes of Shop Around The Corner (1940), To Be or Not to Be (1942), Heaven Can Wait (1943), and Cluny Brown (1946). But for me, no film better personifies his wit and sensibilities than Trouble in Paradise. It proves to be the most impeccable distillation of his directorial style.

The script is courtesy of Samson Raphaelson who would become a longtime collaborator with the director on future projects. Aided by uncredited edits by Lubitsch, the story is imbued with class in the guise of light comedy.

There’s a certain cadence to the cutting and the music. A constant winking that seems to be going on. And it’s simultaneously the height of refined elegance while being undercut with constant nudges and proddings of comic verve. What is noticeable is the economical sophistication of the filmmaking and a seasoned eye for how to tell a story by the best means possible. It’s not always what you would expect.

Consider the film in its early moments as a case and point. It could have started so many ways and yet Lubitsch chose something different. A trash heap, a shadowy fugitive, then a man knocked out on his floor and an almost incomprehensibly daring shot that moves us to another building entirely where we meet our protagonist. It’s all so very enigmatic and almost wordless aside from the bellowing of the gondolier. The man on the balcony rightfully asserts to the waiter attentively standing in the wings, “Beginnings are never easy.” So right he is.

Nevertheless, the film continues to put on a lovely charade concealing its finest secret until the perfect instant to milk the quarries of its humorous intentions for all they are worth. We are introduced to a tryst featuring two great romantics caught up in the rapturous trills of amour.

They sit down to a divine dinner that plays as an intimate tete-a-tete. But soon the curtain drops and they don’t skip a beat as she ousts him as the famed burglar Gaston Monescu and he comes back perfectly charming to accuse her of being a pickpocket herself. She tickled him when she nicked his spoils but her embrace was so sweet. He couldn’t help being touched.

In even these early interludes it becomes obvious that the talent couldn’t be better with Herbert Marshall and Miriam Hopkins falling into their roles seamlessly with a certain amount of relish. Playing a romantic pair of thieves is a fine proposition after all. The world is their oyster and they’re in love. What could be better?

Meanwhile, Edward Edward Horton has an exchange with the police that I can’t but help compare with I Love Lucy’s famous language transfer. So much is lost amid the words and Horton always was an oblivious sort, God bless him.

However, the character who will prove to be the third in our triangle of cultured passion is Colet (Kay Francis) a glamorous heiress in control of a cosmetic empire. Francis embodies the ravishing role flawlessly even despite her well-documented speech impediment. It’s nearly imperceptible if you’re not looking for it.

Far from detracting from her performance it simply increases our sympathy for her. She may be rich — even out of touch with the world at large — but she’s hardly arrogant. She’s easily taken in and a bit cavalier with her money while two men are vying for her affection.

Edward Everett Horton and Charles Ruggles are both exemplary. I realized perhaps it was something moving deep within me telling me those voices were meant to go together. How right I was. Years later Rocky & Bullwinkle serials would have been a great deal less without them. Just as they make this picture that much better. Horton’s pitch-perfect quizzical look (tonsils, positively tonsils) is wonderfully matched by Ruggles own befuddled mannerisms. Still, I digress.

Of course, we see it already. It is Colet’s vast array of jewels that are of particular interest to a third man: Gaston. Except he’s a clever fellow. Instead of just stealing them at the theater he snatches them so he can give them back to her and in turn gain her confidence with his delicate preening of her ego and artful debonair flattery. He’s skilled and she’s a fairly easy mark.

Soon, he’s hired on as her secretary and it has little to do with his current resume, based on probably one of the films most remembered exchanges that pretty much sums up the tone:

“Madame Colet, if I were your father, which fortunately I am not, and you made any attempt to handle your own business affairs, I would give you a good spanking – in a business way, of course.”

“What would you do if you were my secretary?”

“The same thing.”

“You’re hired.”

His wife AKA his Secretary is getting antsy and a little jealous providing one of the film’s other perfectly inflected quips (If you’re a gentleman, I’ll kill you!). Still, her hubby reassures her all of Colet’s sex appeal is in her safe, 1,000s of francs worth of it. But he’s not as impervious as he would like to believe.

Lubitsch has the finesse to film an entire extended sequence of only a clock with the dialogue playing over it. The romantic interplay is understood without visual cues. We nod in acknowledgment. They’re also almost more romantic when they don’t kiss than when they do, floating inches from each other’s faces, eyes closed in a reverie. Gliding on air. We begin to suspect whether this is still a put on or if it is, in fact, becoming real. Gaston is good but his wife is getting anxious and she has every right to be.

The family bookkeeper (C. Aubrey Smith) is skeptical of his qualifications and his identity. But the kicker is that Gaston is finally remembered by Monsieur Filiba and only time will tell when his cover is blown.

It’s time to get out of there and yet something keeps him back. He feels compelled to fess up to Colet and yet there’s no calling of the authorities or any of that. She’s far too wealthy to care. It’s what could have been that she will miss and he knows it too. In the end, he still goes out the door and she lets him. No consequences. No real drama.

There’s no need because that’s not what the film hinges on. It’s the love story and not just the love but how it plays out in this theater of refinement which Lubitsch has incubated to perfection. Undubitably there is trouble in paradise, even wistfulness sometimes, but that doesn’t mean things cannot be resolved.

Husband and wife go out much as they came in — not able to keep their hands off each other — or out of each other’s pockets. Try and put a name to it if you must. It’s the “grift of love.” How sweet it is.